“We were, sort of, the other American family that had this horrible curse,” says Mariel Hemingway. She compared her family to the Kennedys — but the Hemingway curse, she said, is mental illness.

Hemingway, granddaughter of acclaimed author Ernest Hemingway, explores the troubled history of her family in “Running from Crazy,” a documentary that premiered at the Sundance Film Festival on Sunday. Barbara Kopple is the director; Oprah Winfrey is the executive producer.

“Knowing that there’s so much suicide and so much mental illness in my family, I’ve always kind of been ‘running from crazy,’ worried that one day I’d wake up and be in the same position,” Mariel Hemingway, 51, said at a support group for families of suicide, as shown in the film.
Hemingway told CNN last week she wanted this documentary to be an unveiling of her family history, and to give people permission to express their own “stuff,” to realize they’re “not alone in the world of dysfunction.”

The documentary guides the viewer through the turmoil of her parents’ marriage and the troubled relationships between her and her siblings. It includes archival footage from when her sister Margaux Hemingway, who took her own life in 1996, had been making a personal family documentary.

“Suicide has no rhyme or reason,” Hemingway said. “Some people think about it for years and plan it. Some people, it’s 20 dark minutes of their life that they decide to take their life that comes out of the blue. It’s very random, it’s very frightening.”
Hemingway doc looks at mental illness

Whether Hemingway is jumping on a trampoline or submerging herself in a cold stream, with her pointed nose and bouncy blonde hair, her message in the film is one of achieving mental well-being and overcoming one’s own problems. These scenes contrast with newspaper clippings, still photos and melancholy video clips from her family’s past.

Seven members of Hemingway’s family have died by taking their own lives, including Ernest and Mariel Hemingway’s older sister Margaux, she said. Mariel Hemingway had denied her sister’s death was a suicide until an event hosted by the American Association for the Prevention of Suicide in 2003.

Ernest Hemingway, who won the 1954 Nobel Prize in Literature, struggled with depression and killed himself in 1961, just months before Mariel Hemingway was born. But suicide wasn’t something that was talked about when she was growing up.

“Nobody spoke about anything,” she said. “It was a different generation.” Even her sister’s suicide was not talked about, she said.

The film’s biggest revelation, which was the most difficult part of her family history for Hemingway to reveal, is that she believes her father, Jack Hemingway, sexually abused her sisters Margaux and Joan, nicknamed “Muffet.” Hemingway drops this information bomb only briefly in the film — the first time she has revealed this publicly. Jack Hemingway died in 2000.

Hemingway told CNN she does not remember her father abusing her, but notes that she did sleep in the same room as her mother, who had cancer, possibly as protection from her father. She is not sure if her mother knew what was going on. It’s possible that her father didn’t even remember doing it, she says, because he was drunk. Alcohol abuse also runs in the family, she said.

Mariel Hemingway began her screen acting career as the younger sister of a character played by Margaux in the 1976 film “Lipstick.” Critics praised Mariel and dissed Margaux, which strained their relationship.

But Mariel Hemingway said she had been in touch with her sister the week before she died. “She was seemingly OK,” she said. “But you never really know with suicide what’s going on in a person’s mind.”

Prior to the film, Hemingway only saw her sister Joan Hemingway about once a year. Muffet Hemingway lives in Sun Valley, Idaho; Mariel Hemingway lives in Los Angeles.

Muffet had experimented with LSD when she was young, and received a diagnosis of manic depression. Mariel Hemingway has discussed her sister’s struggles in numerous interviews over the years.

“She represented being, you know, ‘crazy,’ ” Mariel Hemingway said last week. “I always feared that I would wake up that way, or that maybe I was that way and I didn’t even know it.”

But since doing the film, they have seen each other a bit more often, including at Christmas. Making the movie has made Mariel Hemingway get over her fear of seeing her sister, whom she describes as “such a loving, kind person.”

“My dream is to be able to have enough money to take care of her myself, and really take over her care,” she said.

Attempts by CNN to contact Joan Hemingway were unsuccessful. An April article in the Twin Falls, Idaho, Times-News said her artwork was being featured in a business in Ketchum, the town adjacent to Sun Valley. Business owner Nicola Potts told the newspaper that Joan Hemingway, 61, leads a “very happy, very private life.”

Mariel, too, said she has had depression and suicidal thoughts, and recalls suffering insecurity and being fearful and depressed growing up. When she overcame that, “I was like, ‘I’ve spent all my life being that way,’ ” she said.

To move past these feelings, Hemingway says she has “done everything” — psychotherapy, gurus, holistic doctors — and each of the methods she has tried have given her something of value. On her blog, for instance, she recommends that everyone take a few minutes of silence in the morning and before sleeping to be still and silent, which helps her to be more calm and focused.

Practices such as these, in addition to exercise, spending time in nature, and eating right, have all helped her achieve peace, she said. It’s only within the last four years that she feels she has completely overcome depression.

“It’s amazing to me that I’m not sad anymore, and that I don’t worry and that I don’t fear,” she said.

These days, Hemingway and her boyfriend Bobby Williams have a lifestyle company called TheWillingWay (“He has the ‘will,’ I have the ‘way,’ ” Hemingway said). Health and wellness are her passion.

She also advocates for suicide and mental illness awareness. She is open and communicative with her two daughters about their own mental health, too.

“I think people need to talk about it a lot,” she said of mental illness, “Making it OK that it’s in your family.” She added, “It doesn’t shame anyone, and it doesn’t make anybody’s family an ugly, bad family.”

That is a challenge to which this Sundance film also rises.

For immediate assistance, contact the National Suicide Prevention Lifeline at 1-800-273-TALK (8255) if you or someone you know is contemplating suicide.

Biutiful

Biutiful is a tale about Uxbal, a middle-aged man who is suffering from prostate cancer which becomes terminal during the course of the movie. In a struggle to save money in order to pay the rent and be able to leave money to care for his children financially after his death, he engages in a number of dodgy enterprises, including but not limited to drug dealing (in addition to using) and brokering the cheap labor of smuggled Chinese immigrants. It is later on, as the end becomes nearer, that he tries to repair his karma by confronting the snakeheads and trying to right this and some of the other wrongs he has commited in his life. When a Senegalese associate dies, he takes in his wife and child (and later ends up telling the wife to take care of his kids and handle the money). Uxbal remains physically active until near the end of his life, though he periodically enters the hospital for chemotherapy and other treatments. He is walking till the very end, though the toll the cancer takes is shown in scenes where he urinates blood, and walks home from a chemotherapy session whereupon he upchucks on the street. Near the end of the movie, he is shown wearing an adult diaper, which symbolizes the fact that the cancer is affecting him more physically, but he is keeping his suffering to himself.

Though he is far from an ideal parent to his two young children (the older of the two turns ten during the course of the picture), living in a shabby apartment and serving cold cereal piled high with sugar for dinner, he tries to be “present in his children’s lives” as he expresses it when he adds that his mother died when he was young, and he had never met his father. His grandfather had also been an absentee father.

While he is separated from the children’s mother Marambra, they do see and interact with one another on a regular basis. The children also spend some time visiting and, at times, temporarily living with, their mother, who initially seems to be the “more fit” parent, based on her more well-kept apartment and well-stocked refrigerator.

Marambra’s ability to be a properly functioning parent is negatively affected by her bipolar disorder. One one visit, Uxbal refers to her past alcohol abuse, and engages in some “checking up” on her. It is made clear that she has engaged in impulsive behavior in the past during manic states, and implied that she may be “self-medicating”. In one scene where she appears to be in a manic state, she is lively, gossiping, and amusing, as well as doting on the children. But on another occasion, she locks the little boy in the basement as a disciplinary measure. Somewhat later, it is made clear that the depressive phase of her condition is coming on. While I do not have any information about the state of affairs in Spain’s mental health system, Marambra makes reference to having previously gone to a “clinic” for her mental illness, where she was “tied up”. No psychiatric medications are seen or spoken of, and nor is electroshock.

Perhaps Marambra realizes she needs to regain her equilibrium for the sake of her children, because she goes to the clinic in spite of the deterrent of being restrained. Uxbal takes the children for the duration, and tells the children the truth, but he also tells them that while she needs to “rest” at the moment, they will be able to visit her later on “any time they want”. She is still in the clinic when Uxbal’s condition becomes worse and he dies.

One Flew Over the Cuckoo’s Nest

One Flew Over The Cuckoo’s Nest is a classic of American cinema, and Jack Nicholson’s most well-remembered cinematic role. The movie was based on an earlier theatrical production, and upon the the Ken Kesey novel of the same name, One Flew Over the Cuckoo’s Nest, which had been loosely based upon his experiences working as a janitor or orderly in a VA mental hospital in California, where he also volunteered for LSD experiments.
A lesser-known fact is that having been released in 1975, as a cinematic retelling of a story set some 10-20 years earlier, it is an extremely realistic portrayal of what State mental institutions were like until fairly recently, insofar as how the facilities were set up and what the available treatments were.
Nurse Ratched is easily vilified and has become synonymous with representatives of institutionalized cruelty in our age, and McMurphy observes that she likes to “play with a rigged deck”. However, though some of her policies are merely protective of institutional inertia (what can putting the World Series game on the ward’s television hurt?), certain of her actions are an attempt to impose order upon chaos and good habits upon pathology; in many cases, she engaged in such restrictive measures as withholding other patients’ cigarettes in an effort to stem the negative influence upon the other patients on the part of McMurphy, who had started gambling with the other patients and had won much of their existing supply of money and cigarettes. Though the patients possess wishful thinking of winning these items back, if enabled to gamble some more, Ratched holds out no such hopes and is immune to McMurphy’s charisma. She thinks the regimen of the institution, if strictly adhered to, can at least partially “fix” McMurphy and the other patients, but McMurphy’s fellow inmates welcome the excitement and fun McMurphy’s stunts bring into their drab world. In an interview with Dr. Spivey, the chief psychiatrist, Randall Patrick McMurphy admits that the reason he got sent to prison, and subsequently to the mental institution was, “as near as I can figure out, it’s ’cause I, uh, fight and fuck too much”. This movie is as much about the way society deals with such a nonconformist as much as it is about the personal conduct of such an individual himself; as the behind-the-scenes deliberations of the doctors and Nurse Ratched are shown and the workings of the various bureaucracies dealing with McMurphy are put before the audience. The treatment team make the fateful decision to “keep him (McMurphy) on the ward”, rather than exercising the other options available to them of sending McMurphy to another ward with more “disturbed” patients, or, as the head of the hospital wanted, sending him back to the prison work farm, on the grounds that McMurphy wasn’t technically mentally ill, and that therefore he could well be returned to the penal system, rather than remain in the mental health system.

Though the medical and psychiatric knowledge of the time had decided that McMurphy was “not crazy, but he is dangerous”, modern-day audiences view this picture with a different perspective than people did when it was released in the 1970s. These days, folks are likely to ask, upon seeing McMurphy’s provoking manner, if perhaps, he “has ADD”, which, back then, was not considered possible in an adult. Some speculate that he might have been a sociopath. Modern audiences also express shock at what was then a common procedure, and, during the time period referenced by the original book upon which the movie is based, the only game in town, electroshock therapy without anesthesia, which is now banned in the US, being widely considered barbaric and cruel.
At one point when a melee erupts in the ward, and McMurphy and the Chief are among those taken away immediately to get electroshock treatment, ostensibly to calm their agitated, violent states, but actually because it is the prevailing punishment this particular bureaucracy can dispense. While McMurphy and the Chief are sitting on a bench outside the electroshock room, waiting their turn, McMurphy does the chief the small kindness of offering him a stick of gum. Chief thanks McMurphy for the gum, and with surprise, McMurphy notes that the Chief “can talk” and is thus not “deaf and dumb” as he had previously been described by others in the ward. (Chief actually came off more as a catatonic to me). The Chief warns McMurphy about people “working on him” by telling him the tragic story of his own bedevilled and alcoholic father. Nevertheless, McMurphy continues his antics and continues to get himself and others into escalating amounts of trouble.
Though the predominant disability portrayed in this movie is mental illness in various forms and degrees, both by actors and by authentic patients who had roles as “extras”, there is the occasional wheelchair user shown at various times and places in the hospital, and it is not uncommon to see stray manual wheelchairs left unattended, and easily commandeered by the able-bodied. Though the hospital was built well before the ADA became law, and is probably not designed with wheelchair accessibility in mind, the patients’ swimming pool has a concrete ramp on which an older male patient in a wheelchair is gently rolled into the pool, wheelchair and all.
There were no shortage of “acquired disabilties” in the mental institutions of the time: in the past, when electroshock was the predominant form of treatment, and was given in much the same way in real life as it was to Jack Nicholson, it was tacitly acknowledged that some brain damage was part of the deal.
Lobotomies were a common form of treatment in mental institutions in the past, and while dramatic loss of intelligence and personality was not always the direct result of lobotomization, in this movie, an individual who has had a lobotomy is portrayed as a drooling, incontinent zombie, and McMurphy is shown as passive and silent, and no longer “him”, following his lobotomy.

Access Keys

Available Access Keys:

1 - Home Page

S - Skip to Main Content

T - Jump to Top of Page

C - Disability Movie Cliches

F - Hall of Shame

D - Movies with Audio Description

W - Twitter page

This site utilizes access keys to aid user navigation for screen reader users. Continue to listen for a list of available access keys.
Use the access key 1 to navigate to the Home Page.Use the access key S to skip to the main content on the page.Use the access key T to jump to the top of the page.